You aren’t dictating how they will find out something, but you’re still dictating the order in which they will.
Nope, not in the slightest! I keep a list of maybe a dozen or so possible secrets relevant to the broader arc that they might discover that could be helpful, and maybe only two or three will actually come up in any given session. That makes it a lot easier to find useful tidbits to work in organically, without keeping a vise grip on the narrative the way you seem to have interpreted from my initial comment. If I only had a small number of “relevant secrets”, or was too precious about the order they’d be revealed in, I can absolutely see the issues you mentioned - but that’s not how I run things. That larger list gives me the chance to look for the one(s) that actually make the most narrative sense instead of feeling the need to shoehorn anything. Sometimes I don’t even have a narrative in mind, really - just a series of interesting facts about this part of the world/the NPCs in it, and leave it to the players to chase those interesting scraps of knowledge and make of them what they will.
Ah, this is how I run my solo PbP games. I like it for being no-prep, but also found it to suffer from some continuity issues if you look too meticulously at things. Like an AI-generated story or a dream. I would set this kindly stranger to be secretly from the same persecuted people of the PC, but only realize later it would make him way more wary when they first met. I would then make him an ex-army officer, not realising this meant he would know how to properly disarm the PC before the PC threatened him at gunpoint. Etc.
I think it would as well wouldn’t fly at all on intrigue campaigns (where it’s relevant to keep a rather hard track on what NPC knows and what they do not).
Well, there is some important prep, and it’s to decide those key secrets up front for the purposes of continuity. Like for example I’d decide from the beginning that that NPC is from those same persecuted people as the PC, I just wouldn’t have a clear pretedetermined path or set of clues in mind for how the players might figure that out. Those details can emerge organically through gameplay so long as the core foundations are laid in advance. I do run a bunch of one-shots the more open ended “generative” way you describe, but anything longer running needs the explicit advance prep to work out those key secrets up front in order to keep things stable and consistent.
The way I prepped with nodes was that I didn’t set three clues for every secret a NPC had, doing what you did as well, just on ties to other people and how they “became contactable”. I’ll reuse the High Mage example. For some context, this was a matriarchical sultanate of wizards where only women could use magic. The High Mage had four clues:
Proactive: Someone finds the magic necklace that can talk telepathically to the High Mage’s “adopted daughter”, the dragon girl whom she keeps in a (nonliteral) golden cage. -> This was one of the major secrets for this campaign. The High Mage had tapped this line and the dragon tried to hide as much personal information as possible.
Hidden ally of the terrorist cell of maiden knights.
Her apprentice had helped the rich warvet directly with his grievous wounds.
Knows about the existence of The Robot and actively hunts it down.
And those were the clues that pointed to her:
Her enemy in the Mage Council is largely discredited, but she still (indirectly) accuses her, under her breath, that she is a heretic, or trying to become a lich, or helps people circumvent law, or… She doesn’t keep the facts straight and everyone thinks she is bullshitting since the claims are disconnected and are all of grave crimes, but they’re (mostly) true.
She had offered directly to turn a male wizard into female with her secret potion so he would be respected as a magi and not have the police called on him for being an “illegal bard” every two weeks or so.
The Eldritch Fey knows about the dragon girl.
Some pointed directly to secrets (mainly those who had to do with the dragon), but mostly were just to other people. Even the pointers to the dragon weren’t pointers to the fact she was a philactery.
Nope, not in the slightest! I keep a list of maybe a dozen or so possible secrets relevant to the broader arc that they might discover that could be helpful, and maybe only two or three will actually come up in any given session. That makes it a lot easier to find useful tidbits to work in organically, without keeping a vise grip on the narrative the way you seem to have interpreted from my initial comment. If I only had a small number of “relevant secrets”, or was too precious about the order they’d be revealed in, I can absolutely see the issues you mentioned - but that’s not how I run things. That larger list gives me the chance to look for the one(s) that actually make the most narrative sense instead of feeling the need to shoehorn anything. Sometimes I don’t even have a narrative in mind, really - just a series of interesting facts about this part of the world/the NPCs in it, and leave it to the players to chase those interesting scraps of knowledge and make of them what they will.
Ah, this is how I run my solo PbP games. I like it for being no-prep, but also found it to suffer from some continuity issues if you look too meticulously at things. Like an AI-generated story or a dream. I would set this kindly stranger to be secretly from the same persecuted people of the PC, but only realize later it would make him way more wary when they first met. I would then make him an ex-army officer, not realising this meant he would know how to properly disarm the PC before the PC threatened him at gunpoint. Etc.
I think it would as well wouldn’t fly at all on intrigue campaigns (where it’s relevant to keep a rather hard track on what NPC knows and what they do not).
Well, there is some important prep, and it’s to decide those key secrets up front for the purposes of continuity. Like for example I’d decide from the beginning that that NPC is from those same persecuted people as the PC, I just wouldn’t have a clear pretedetermined path or set of clues in mind for how the players might figure that out. Those details can emerge organically through gameplay so long as the core foundations are laid in advance. I do run a bunch of one-shots the more open ended “generative” way you describe, but anything longer running needs the explicit advance prep to work out those key secrets up front in order to keep things stable and consistent.
The way I prepped with nodes was that I didn’t set three clues for every secret a NPC had, doing what you did as well, just on ties to other people and how they “became contactable”. I’ll reuse the High Mage example. For some context, this was a matriarchical sultanate of wizards where only women could use magic. The High Mage had four clues:
Proactive: Someone finds the magic necklace that can talk telepathically to the High Mage’s “adopted daughter”, the dragon girl whom she keeps in a (nonliteral) golden cage. -> This was one of the major secrets for this campaign. The High Mage had tapped this line and the dragon tried to hide as much personal information as possible.
Hidden ally of the terrorist cell of maiden knights.
Her apprentice had helped the rich warvet directly with his grievous wounds.
Knows about the existence of The Robot and actively hunts it down.
And those were the clues that pointed to her:
Her enemy in the Mage Council is largely discredited, but she still (indirectly) accuses her, under her breath, that she is a heretic, or trying to become a lich, or helps people circumvent law, or… She doesn’t keep the facts straight and everyone thinks she is bullshitting since the claims are disconnected and are all of grave crimes, but they’re (mostly) true.
She had offered directly to turn a male wizard into female with her secret potion so he would be respected as a magi and not have the police called on him for being an “illegal bard” every two weeks or so.
The Eldritch Fey knows about the dragon girl.
Some pointed directly to secrets (mainly those who had to do with the dragon), but mostly were just to other people. Even the pointers to the dragon weren’t pointers to the fact she was a philactery.